Author: eohara (Page 17 of 30)

Writing Reflection:

To start the reflection process of my writing for this project, I also should mention that I had a draft of this poem sitting in a journal from the middle of August – a very rough draft, more just some phrases and feelings – that I knew I wanted to write about and explore more fully, especially as I also tend to gravitate towards this writing around the turn of the seasons and my own self-reflection. For the first few drafts of the poem in the book, I stayed pretty close to my original day one entry with the ideas and structures and this emphasis on the heavy connections between the change of the season and the awareness of change within myself – growing up, different versions of youth, etc. But then I knew the emphasis wanted to be on the torn feeling of being in awe of the changes and this feeling that you cannot quite describe. That shifted me away from some of the really heavy, cliche-like phrases into more of a narrative questioning but still some natural imagery. As I moved from draft to draft over the course of the days, I found phrases that I liked and tried to incorporate them in different places within the poem and witnessed how they changed the meaning or reading of the poem. I still am not sure which version best encapsulates the feeling I had – and still have – but I do know that the themes and descriptors of nature and almost this existential awareness and longing can be universal throughout time but also can totally consume one singular moment.

Bookmaking Reflection:

For the bookmaking aspect of this project, I wanted to stick with primarily collage and then add a few emphasizing marks within the poem itself, but to keep it simple. For the imagery, I found some magazine clippings and photos I had in my vogues, New Yorker, etc., and just leafed through until I found something that hit the poem’s feeling. For one, this idea of seasons and nature seemed to play along with the essence of the poem and its drafts, where there is this subtle change but an apprehension to acknowledge it fully and to be conscious of the passage of time. For this, I chose the front and back covers to go together and be cohesive from start to end. There was this great set of an image where a bud was coupled with the word arrival and then a blooming flower labeled departure. I felt this was so evocative and played into my poem, where change doesn’t always mean gloom or decay but can actually indicate growth and a moment of reflection. Other elements, such as the pear and the greenery of trees, were very reminiscent of August and this almost past-ripe, souring of days at the end of summer to then the back cover showcasing a crisp change with more blues and oranges and also this emergence of a mountainous peak and the clock. Within the pages of the drafts themselves, I chose some colors, such as blues and greens, to embellish some of the key phrases or elements of each draft – also the spiraling leaves to match the words of the rustling leaves, some ocean doodles on the drafts with the ocean reference.

Final Poem:

Season’s End

And so, this simple thought just sitting,
asks why the night’s intoxicating luster
blinds us to the overripe morning
whose hour threatens to catch us.
What is it that just sits within yet cannot
clearly be defined through the murky
dew-soaked air.
For it is not sadness, joy, or fear,
and its peak – though never clearly seen –
invites the turn of the scene, each tired
rustle of the leaves chimes of wasted time

Writing Reflection:

To start the reflection process of my writing for this project, I also should mention that I had a draft of this poem sitting in a journal from the middle of August – a very rough draft, more just some phrases and feelings – that I knew I wanted to write about and explore more fully, especially as I also tend to gravitate towards this writing around the turn of the seasons and my own self-reflection. For the first few drafts of the poem in the book, I stayed pretty close to my original day one entry with the ideas and structures and this emphasis on the heavy connections between the change of the season and the awareness of change within myself – growing up, different versions of youth, etc. But then I knew the emphasis wanted to be on the torn feeling of being in awe of the changes and this feeling that you cannot quite describe. That shifted me away from some of the really heavy, cliche-like phrases into more of a narrative questioning but still some natural imagery. As I moved from draft to draft over the course of the days, I found phrases that I liked and tried to incorporate them in different places within the poem and witnessed how they changed the meaning or reading of the poem. I still am not sure which version best encapsulates the feeling I had – and still have – but I do know that the themes and descriptors of nature and almost this existential awareness and longing can be universal throughout time but also can totally consume one singular moment.

Bookmaking Reflection:

For the bookmaking aspect of this project, I wanted to stick with primarily collage and then add a few emphasizing marks within the poem itself, but to keep it simple. For the imagery, I found some magazine clippings and photos I had in my vogues, New Yorker, etc., and just leafed through until I found something that hit the poem’s feeling. For one, this idea of seasons and nature seemed to play along with the essence of the poem and its drafts, where there is this subtle change but an apprehension to acknowledge it fully and to be conscious of the passage of time. For this, I chose the front and back covers to go together and be cohesive from start to end. There was this great set of an image where a bud was coupled with the word arrival and then a blooming flower labeled departure. I felt this was so evocative and played into my poem, where change doesn’t always mean gloom or decay but can actually indicate growth and a moment of reflection. Other elements, such as the pear and the greenery of trees, were very reminiscent of August and this almost past-ripe, souring of days at the end of summer to then the back cover showcasing a crisp change with more blues and oranges and also this emergence of a mountainous peak and the clock. Within the pages of the drafts themselves, I chose some colors, such as blues and greens, to embellish some of the key phrases or elements of each draft – also the spiraling leaves to match the words of the rustling leaves, some ocean doodles on the drafts with the ocean referenced, etc. 

"Hawthorne indeed produces the very essence of that wild and heathen forest, for I, too, remember the shaking of faith that desolate wilderness inspires with savage creatures lurking and howling in the cover of night. The path of those turning away from the glory of God and heaven above must then face the consequences of a snarled and evil road. As Heb. 3:12-13 reads, “Beware, brethren, lest there be in any of you an evil heart of unbelief in departing from the living God; but exhort one another daily, while it is called ‘Today,’ lest any of you be hardened through the deceitfulness of sin.” I only hope one’s readers take its truest meaning away from this dark tale – never dare to abandon one’s Puritan beliefs and the harmony of its community, for pre-destined are we each, and thou can never be too doubtful."

- Mary Rowlandson, author of A Narrative of the Captivity and Restauration of Mrs. Mary Rowlandson

"I am proud beyond belief to read such a thrilling, well-crafted, and cautionary tale. While my great-grandson must have changed the spelling of our name to avoid the excess of fame following wherever he went –  as I cannot think of any other reason – he is right to look back on our family’s involvement in this dark hour of Salem. Indeed, this story shows the true level of darkness I encountered as I swiftly and relentlessly strove to oust Satan’s work as the highest court of the colonies and return that community to God. Some say I showed no remorse for those who dared to doubt my and God’s authority; I say look to Hawthorne’s description of that vital Puritain realization. With that dubious and ominous night that young Goodman Brown was initiated into the very heart of our religion – that those all aroud us may harbor the true nature of a foul and wicked sinner."

- Judge John Hathorne, great-grandfather of Nathaniel Hawthorne & leading judge in the Salem Witch Trials of 1692

Promotional Blurb Sources:

“Bible Gateway Passage: Hebrews 3:12-13 – New King James Version.” Bible Gateway, www.biblegateway.com/passage/?search=Hebrews+3%3A12- 13&version=NKJV. Accessed 29 Nov. 2023.

Brooks, Rebecca Beatrice, et al. “John Hathorne: Salem Witch Judge.” History of Massachusetts Blog, 24 Oct. 2021, historyofmassachusetts.org/john-hathorne-the-salem-witch-judge/. 

Tuttle, Jennifer. “Mary Rowlandson.”Writing, Revolution, and Resistance in US Literature. UNE Portfolio, https://eng200-a-s20.uneportfolio.org/2023/09/21/mary-rowlandson, Accessed 7 Dec. 2023.

Tuttle, Jennifer. “Nathaniel Hawthorne.”Writing, Revolution, and Resistance in US Literature. UNE Portfolio, https://eng200-a-s20.uneportfolio.org/nathaniel-hawthorne/, Accessed 7 Dec. 2023.